Feature Photo: Ben Houdijk-Shutterstock.com
Our 20 Most Classic AC/DC Songs article presents a showcase of the band’s most popular, legendary songs. While we could have easily made this a list of a hundred songs, we decided to pair it down to 20 of the band’s most iconic ones and include a detailed description and history of each song.
# 20 – It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll) –
The raw, unvarnished reality of life as a rock musician finds its perfect anthem in AC/DC’s “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll).” Released on T.N.T. in 1975 and later featured on the international version of High Voltage, the track captures the relentless grind of the music world with Bon Scott’s raspy vocal delivery and a groundbreaking fusion of hard rock and bagpipes. This genre-defying decision to incorporate the bagpipes—a nod to Scott’s Scottish heritage—sets the song apart as a testament to the band’s creative fearlessness.
Recorded at Albert Studios in Sydney under the production of Harry Vanda and George Young, the song channels the energy of a live performance. Malcolm Young anchors the rhythm section with his muscular guitar riffs, while Angus Young’s searing lead guitar cuts through the mix with an urgency emblematic of their sound. Bon Scott’s dual role as vocalist and bagpipe player adds a layer of complexity that enhances the song’s unique texture, all supported by Phil Rudd’s precise drumming. This lineup exemplifies the synergy that would solidify AC/DC’s reputation as hard rock icons.
Lyrically, the song delves into the hardships of the rock ‘n’ roll lifestyle, with lines like “Ridin’ down the highway / Goin’ to a show / Stop in all the byways / Playin’ rock ‘n’ roll” highlighting the wear and tear of constant touring. Unlike many anthems that celebrate the glory of stardom, this track lays bare the grit and determination required to survive the journey. Compared to other songs on this list, it resonates as a rallying cry for those who endure challenges to pursue their dreams, blending authenticity with a defiant sense of humor.
# 19 – Girls Got Rhythm – Highway To Hell
Released in 1979, this track highlights the band’s mastery of groove-heavy rock and their knack for crafting infectious hooks. The song was recorded at Albert Studios in Sydney, with legendary producer Robert John “Mutt” Lange bringing a refined yet powerful edge to AC/DC’s sound, a hallmark of Highway to Hell. The combination of Bon Scott’s dynamic vocals, Angus Young’s searing lead guitar, and Malcolm Young’s rock-solid rhythm work creates a synergy that defines the track’s irresistible pull.
Musically, “Girls Got Rhythm” is a celebration of syncopated rhythm and raw rock ‘n’ roll energy. The song kicks off with a swaggering guitar riff that perfectly sets the tone for Scott’s confident and sly delivery of lyrics like “She got the back seat rhythm.” Cliff Williams’ bass lines and Phil Rudd’s steady drumming underpin the groove, giving the track a pulsating drive that reflects the physicality of the lyrics. The tight, cohesive interplay among the band members elevates the song beyond a simple rock anthem, showcasing AC/DC’s ability to fuse power with finesse.
Lyrically, the song exudes the band’s trademark cheeky irreverence, celebrating the allure and magnetism of women who command the room. Unlike the anthemic storytelling of “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll),” “Girls Got Rhythm” revels in a more personal, immediate kind of thrill, creating a dynamic contrast within this list of AC/DC classics. The song’s unapologetic celebration of raw emotion and physical connection reinforces its timeless appeal, making it a staple of the band’s live performances and a fan favorite.
“Girls Got Rhythm” not only secured its place as a cornerstone of Highway to Hell but also helped solidify AC/DC’s legacy as one of the most consistent and exciting rock bands of their time. The song’s energy, musicianship, and unapologetic confidence continue to resonate, ensuring its status as a true classic in AC/DC’s formidable catalog.
# 18 – Flick of the Switch – Flick of the Switch
The raw, unfiltered power of AC/DC’s “Flick of the Switch” delivers a no-frills declaration of the band’s signature style during the early 1980s. Recorded at Compass Point Studios in Nassau, Bahamas, and produced by the band themselves, this song is the title track from their 1983 album Flick of the Switch and exemplifies the stripped-down approach AC/DC adopted after parting ways with producer Mutt Lange. The lineup featured Brian Johnson on vocals, Angus and Malcolm Young on guitars, Cliff Williams on bass, and Phil Rudd on drums, all performing with their usual relentless energy.
Lyrically, “Flick of the Switch” plays into the band’s tradition of dynamic metaphors for electrifying performances and irresistible energy. Johnson’s raspy delivery and the driving guitar riffs carry the listener through themes of power, intensity, and the unstoppable momentum of rock and roll. The repeated phrase “flick of the switch” suggests both a call to action and a promise of instant transformation, making it a rallying cry for fans craving the unfiltered AC/DC sound. The simplicity of the lyrics aligns with the album’s broader aim of returning to the band’s earlier, unpolished roots, eschewing the more polished production of their recent albums at the time.
# 17 – Shoot To Thrill – Back In Black
“Electrifying and unapologetically bold, AC/DC’s “Shoot to Thrill” represents the explosive energy that defines their Back in Black album. Recorded in 1980 at Compass Point Studios in Nassau, Bahamas, this track exemplifies the band’s ability to merge heavy riffs with high-octane lyrics that resonate with fans across generations. Produced by Robert John “Mutt” Lange, the song captures the relentless precision of Angus Young on lead guitar, Malcolm Young’s tight rhythm guitar, Cliff Williams’ driving bassline, Phil Rudd’s thunderous drums, and Brian Johnson’s powerhouse vocals in his debut album with the band.
The lyrics of “Shoot to Thrill” combine innuendo and bravado, delivering a raucous narrative steeped in themes of hedonism and adrenaline. Johnson’s commanding delivery underscores lines like “I’m like evil, I get under your skin,” projecting a raw intensity that fuels the track’s energetic momentum. The interplay between the twin guitars of Angus and Malcolm creates a dynamic that alternates between tightly wound verses and an explosive chorus, mirroring the excitement and chaos depicted in the lyrics. The song’s infectious rhythm and soaring solos encapsulate the unrelenting spirit that Back in Black embodies.
# 16 – Jailbreak – Dirty Deeds Done Dirt Cheap
“Jailbreak,” a riveting tale of rebellion and tragedy, is one of AC/DC’s most narratively driven tracks, featured on the Dirty Deeds Done Dirt Cheap album. Recorded in 1976 at Albert Studios in Sydney, the song unfolds with raw simplicity, showcasing Bon Scott’s storytelling prowess against the backdrop of Malcolm and Angus Young’s blistering guitar riffs. Produced by Harry Vanda and George Young, the track epitomizes the gritty, no-frills rock sound that defined the band’s early years. Phil Rudd’s steady drumming and Mark Evans’ robust bassline lay the foundation for this five-minute epic of defiance.
Lyrically, “Jailbreak” recounts the story of a man wrongfully imprisoned who orchestrates an escape, only to meet a tragic end in a hail of gunfire. Scott’s delivery imbues the song with a sense of urgency and fatalism, particularly in the lines, “He made it out with a bullet in his back.” The song’s pacing mirrors its tension-filled narrative, building gradually with the main riff before erupting into the explosive chorus. The Young brothers’ guitars alternate between tightly wound rhythms and soaring, blues-inspired solos, amplifying the song’s dramatic arc.
# 15 – Stiff Upper Lip – Stiff Upper Lip
“Stiff Upper Lip,” the title track of AC/DC’s 2000 album, represents a confident return to form, blending bluesy grooves with the band’s trademark hard rock sound. Recorded in Vancouver, British Columbia, at The Warehouse Studio, the song highlights the enduring synergy of Malcolm and Angus Young, who co-wrote the track. Produced by George Young, the album marked a reunion with their brother, bringing a raw, no-nonsense approach to the band’s music. Angus Young’s searing guitar riffs take center stage, while Brian Johnson’s gravelly vocals deliver the swaggering lyrics with undeniable authority.
The song’s lyrics encapsulate AC/DC’s ethos of resilience and perseverance, reflected in the phrase “stiff upper lip,” a British expression for maintaining composure in tough times. Johnson sings lines like, “I keep a stiff upper lip and I shoot from the hip,” exuding confidence and defiance in the face of adversity. The music mirrors this attitude, with a steady, mid-tempo rhythm that lets the bluesy undertones shine through. Phil Rudd’s drum work, combined with Cliff Williams’ bass, locks into a groove that propels the track without overwhelming its subtleties.
Critically, “Stiff Upper Lip” was praised for its return to the band’s roots, eschewing overproduction in favor of a stripped-down, straightforward sound. While not as explosively energetic as tracks like “Shoot to Thrill,” its groove-laden structure offers a more measured intensity that complements its theme of determination. The song’s music video, directed by Andy Morahan, visually reinforces its brash tone, featuring Johnson strutting through a cityscape with Angus wielding his signature Gibson SG in iconic fashion. Among AC/DC’s extensive catalog, “Stiff Upper Lip” stands out as a modern testament to their enduring ability to fuse attitude and musicality.
# 14 – Rock ‘n’ Roll Damnation – Powerage
“Rock ‘n’ Roll Damnation,” the opening track of AC/DC’s 1978 album Powerage, captures the band at a pivotal moment, channeling their signature raw energy into a slightly polished, radio-friendly sound without losing their edge. Written by Malcolm and Angus Young alongside Bon Scott, the song was recorded at Albert Studios in Sydney, Australia, and produced by Harry Vanda and George Young. It marked the first AC/DC single to crack the UK Top 40, a significant milestone in the band’s rise to international stardom.
Lyrically, the song encapsulates rebellion and defiance, two core themes of AC/DC’s ethos. Scott’s gritty delivery of lines like, “You’re living in the past, it’s a new generation,” feels like a rallying cry against societal expectations and conventions. The track’s infectious rhythm and sing-along chorus drive home its confident message, while the cowbell adds a playful yet assertive touch to the hard-driving beat. Angus Young’s guitar riffs and solos, paired with Malcolm Young’s rhythm work, create a layered dynamic that feels both polished and raw.
Critically, “Rock ‘n’ Roll Damnation” was well-received for its energetic hooks and accessibility, standing out from the darker tones of Powerage. The song’s inclusion of handclaps and a more groove-oriented structure set it apart from the band’s heavier tracks like “Jailbreak” while still retaining their unrelenting rock spirit. Comparatively, it’s less aggressive than “Shoot to Thrill” but exudes a swagger and infectiousness that make it equally memorable. “Rock ‘n’ Roll Damnation” remains a cornerstone of AC/DC’s live performances and an enduring reminder of their ability to balance commercial appeal with their unapologetically raw style.
# 13 -Rock and Roll Ain’t Noise Pollution – Back In Black
“Rock and Roll Ain’t Noise Pollution,” the closing track on AC/DC’s monumental 1980 album Back in Black, serves as both a defiant anthem and a love letter to the genre itself. Written by Angus Young, Malcolm Young, and Brian Johnson, the song was recorded at Compass Point Studios in Nassau, Bahamas, and produced by the legendary Robert John “Mutt” Lange. Its inclusion on the Back in Black album, which is one of the best-selling albums of all time, cemented its place in rock history.
Lyrically, the song is a celebration of rock and roll as an enduring force, one that transcends trends and stands firm against criticism. Johnson’s opening spoken-word monologue—“Alright, noise pollution, I say it ain’t. Rock and roll will never die”—sets the stage for a track that blends grit and swagger. Lines like “Rock and roll ain’t noise pollution, rock and roll it’ll never die” convey a sense of defiance, underscoring AC/DC’s unwavering commitment to their music.
Musically, the track is a slower, blues-infused number, standing out amidst the high-octane energy of Back in Black. Angus Young’s guitar riffs are rich and deliberate, complemented by Malcolm Young’s steady rhythm work. Phil Rudd’s measured drumming adds a laid-back groove, while Cliff Williams anchors the song with his bassline. Brian Johnson’s powerful vocals tie everything together, delivering the lyrics with a blend of passion and grit.
Critically, “Rock and Roll Ain’t Noise Pollution” has been praised for its confident simplicity and its thematic declaration of rock’s eternal relevance. Compared to other tracks on Back in Black, such as “Shoot to Thrill,” this song provides a reflective and almost meditative close to an otherwise adrenaline-fueled album. Its message of resilience resonates with the band’s philosophy, making it a timeless piece that continues to inspire fans and musicians alike.
# 12 – Dog Eat Dog – Let There Be Rock
“Dog Eat Dog,” from AC/DC’s 1977 album Let There Be Rock, captures the band’s raw and relentless energy at a pivotal point in their career. Written by Angus Young, Malcolm Young, and Bon Scott, the song was recorded at Albert Studios in Sydney and produced by Harry Vanda and George Young. This track exemplifies the band’s gritty sound and no-nonsense attitude, showcasing their distinct ability to blend high-voltage rock with sharp social commentary.
Lyrically, the song explores themes of competition and survival, using the phrase “dog eat dog” to reflect the cutthroat nature of modern society. Bon Scott’s biting delivery adds a sense of urgency and disdain as he sings, “It’s a dog eat dog, eat cat too / The French eat frog and I eat you.” This dark humor and sardonic wit are trademarks of Scott’s lyricism, bringing a rebellious edge to the song’s critique of societal pressures.
Musically, “Dog Eat Dog” is driven by a mid-tempo groove anchored by Malcolm Young’s powerful rhythm guitar and Cliff Williams’ steady bassline. Angus Young’s lead guitar work provides electrifying riffs and a searing solo that cuts through the track’s raw production. Phil Rudd’s drumming maintains a punchy, relentless beat, perfectly complementing the song’s aggressive tone. The result is a track that feels both unpolished and dynamic, embodying the essence of AC/DC’s sound during their early years.
Critics and fans alike have praised “Dog Eat Dog” for its straightforward intensity and the way it reflects the band’s ethos. Compared to other songs on Let There Be Rock, such as the title track or “Whole Lotta Rosie,” this song leans more into social commentary while retaining the unfiltered energy that defines the album. Its combination of clever lyrics, tight instrumentation, and rebellious spirit makes “Dog Eat Dog” a standout moment in AC/DC’s catalog, highlighting the raw power that solidified their place in rock history.
# 11 – Heatseeker – Blow Up Your Video
“Heatseeker,” the opening track from AC/DC’s 1988 album Blow Up Your Video, exemplifies the band’s ability to combine their signature hard rock sound with a wry sense of humor. Written by Angus Young, Malcolm Young, and Brian Johnson, the song was recorded at Miraval Studios in Le Val, France, and produced by Harry Vanda and George Young. As the lead single from the album, it delivered a high-octane statement that reaffirmed AC/DC’s enduring presence in the rock world during the late 1980s.
The song’s lyrics center around a metaphorical “heatseeker,” presenting the image of a missile as a representation of relentless energy and ambition. Lines like “I’m a heatseeker, I don’t take no nonsense / I’m a heatseeker, yeah, I’m looking for some fun” underscore the band’s unyielding drive and rebellious spirit. Brian Johnson’s gravelly delivery enhances the song’s attitude, injecting a playful swagger into the powerful imagery.
Musically, “Heatseeker” is an adrenaline rush from start to finish, propelled by Angus Young’s fiery guitar riffs and Malcolm Young’s precise rhythm work. Cliff Williams’ bassline provides a robust foundation, while Simon Wright’s drumming drives the track with a steady yet forceful beat. The production captures the energy of the band’s live performances, creating a polished yet electrifying sound. The chorus, with its catchy hook, invites audience participation, making it a favorite in the band’s live repertoire.
“Heatseeker” achieved commercial success, charting in multiple countries and reaching the top 20 in the UK Singles Chart. Critics lauded the track for its infectious energy and classic AC/DC feel, even as the band navigated shifts in the rock landscape of the late 1980s. Within the context of Blow Up Your Video, “Heatseeker” stands as a fiery declaration of intent, showcasing the band’s ability to evolve without losing the raw power that defines their sound. Comparatively, its fast-paced drive and lyrical wit distinguish it from other tracks on this list, demonstrating AC/DC’s knack for delivering timeless rock anthems.
# 10 – Whole Lotta Rosie – Let There Be Rock
“Whole Lotta Rosie,” a cornerstone track from AC/DC’s 1977 album Let There Be Rock, was written by Bon Scott, Angus Young, and Malcolm Young. The song was recorded at Albert Studios in Sydney, Australia, under the production guidance of Harry Vanda and George Young. Its larger-than-life narrative and electrifying performance have made it an enduring favorite in the band’s live shows.
The lyrics tell the story of an unforgettable encounter with a larger-than-life woman named Rosie, a figure immortalized in Bon Scott’s wry and colorful storytelling. With lines like “Ain’t no fairy story / Ain’t no skin and bones,” Scott celebrates Rosie’s confidence and physical presence, turning her into a figure of admiration and reverence. The song’s playful but forthright approach to its subject matter reflects Scott’s knack for vivid, relatable storytelling.
Musically, “Whole Lotta Rosie” is a tour de force of hard rock energy. Angus Young’s fiery guitar riff provides the backbone of the track, while Malcolm Young’s rhythm guitar and Cliff Williams’ bass create a thunderous groove. Phil Rudd’s drumming underscores the song with relentless precision, driving the momentum forward. Bon Scott’s vocal performance brims with charisma and swagger, his delivery emphasizing the song’s humor and charm. The track culminates in a blistering guitar solo that cements its status as one of the band’s most iconic songs.
# 9 – Dirty Deeds Done Dirt Cheap – Dirty Deeds Done Dirt Cheap
“Dirty Deeds Done Dirt Cheap,” the title track from AC/DC’s 1976 album Dirty Deeds Done Dirt Cheap, was recorded at Albert Studios in Sydney, Australia. The song was produced by Harry Vanda and George Young, and features the core lineup of Bon Scott on vocals, Angus and Malcolm Young on guitars, Mark Evans on bass, and Phil Rudd on drums. The track’s darkly comedic tone and gritty sound have cemented it as one of AC/DC’s most iconic songs.
The lyrics revolve around a shadowy figure offering to handle undesirable situations for a nominal fee, with Scott’s tongue-in-cheek delivery making the nefarious deeds sound both mischievous and oddly appealing. The repeated phone number in the song, “36-24-36,” adds a cheeky layer of humor while contributing to the track’s enduring memorability. This narrative fits seamlessly within AC/DC’s early catalog, where they often celebrated life’s wilder and more irreverent sides.
Musically, “Dirty Deeds Done Dirt Cheap” is a masterclass in simplicity and power. Angus Young’s opening riff is instantly recognizable, setting a menacing yet playful tone. Malcolm Young’s rhythm guitar work provides a sturdy backbone, while the rhythm section of Mark Evans and Phil Rudd anchors the track with a driving groove. Bon Scott’s vocal performance brims with character, shifting effortlessly between sly and commanding as he delivers the song’s punchlines.
# 8 – “High Voltage – T.N.T.
“High Voltage” was first released in Australia as a single in July 1975 and is the eighth track on their second Australian album, T.N.T. This song captures the raw energy and rebellious spirit of AC/DC’s early years and is one of their most enduring and beloved tracks. Written by Angus Young, Malcolm Young, and Bon Scott, “High Voltage” quickly became a staple in the band’s repertoire and an anthem for rock ‘n’ roll enthusiasts. It peaked at #48 on the UK Singles Chart in 1980.
The song shares its name with the band’s first Australian and international albums. It is the ninth and final track on the international version, released in May 1976. In January 2018, “High Voltage” was ranked number 95 in Triple M’s “Ozzest 100,” a list of the ‘most Australian’ songs of all time. Although Phil Rudd is erroneously credited with recording the song, the drums were actually recorded by session drummer Tony Currenti. This minor detail doesn’t detract from the song’s powerful impact and timeless appeal.
“High Voltage” has been included on four of AC/DC’s five official live releases: If You Want Blood You’ve Got It (sung by Bon Scott, 1978), Live: 2 CD Collector’s Edition (sung by Scott’s replacement Brian Johnson, 1992), Live from the Atlantic Studios (Scott, 1977), and Let There Be Rock: The Movie – Live in Paris (Scott, 1979) – the latter two being released in 1997 as part of the Bonfire box set. In concerts, the song has evolved into a sing-along with the crowd, and during the 2010 Black Ice World Tour, images of Scott were projected onto the stage screens during the performance of the song’s chorus to commemorate the 30th anniversary of his death. The bridge where Scott sings ‘I said high, I said high’ has been extended in live performances with Scott (and later Brian Johnson) repeating the word ‘high’ in increasing loudness and pitch, creating an interactive and electric experience for fans.
The personnel for this track includes Bon Scott on lead vocals, Angus Young on lead guitar, Malcolm Young on rhythm guitar and backing vocals, George Young on bass guitar, and Tony Currenti on drums (uncredited). The song was produced by Harry Vanda and George Young, recorded at Albert Studios in Sydney, Australia. Critically, “High Voltage” has been praised for its infectious energy and memorable riff. It has become a staple in AC/DC’s live performances and continues to be a fan favorite, much like “T.N.T.,” another classic from the same album. Both songs embody the band’s signature rebellious spirit and dedication to rock ‘n’ roll, making them essential listens for any AC/DC fan. “High Voltage” reached #10 on the Australian Kent Music Report in 1975 and secured the #70 spot on the year-end charts.
# 7 -Who Made Who – Who Made Who
“Who Made Who” by AC/DC is a masterful blend of hard rock and science fiction, showcasing the band’s ability to evolve while staying true to their roots. Released in 1986 as part of the Who Made Who album, this song was one of the three new tracks created for the soundtrack of Stephen King’s film Maximum Overdrive. It served both as a stand-alone single and a highlight of the compilation, mixing tracks from previous albums. The 12-inch single format features an extended mix, available in the Deluxe Edition of AC/DC’s Backtracks Boxset, on Disc 1, Studio Rarities. “Who Made Who” peaked at #23 on the Billboard Mainstream Rock Chart on July 19, 1986, and remained on the chart for 12 weeks.
The song’s popularity is evident not only from its chart performance but also from its live renditions. “Who Made Who” was played extensively during the subsequent world tour and the Blow Up Your Video World Tour. Notably, it was performed live with drummer Chris Slade during The Razors Edge World Tour, and with Phil Rudd for the opening night of the Ballbreaker World Tour in Greensboro, North Carolina. Despite its initial success, the song was dropped from the setlist after that first gig with Rudd. A live version of “Who Made Who” was later released on the 1992 album AC/DC Live.
The music video for “Who Made Who,” directed by David Mallet, is a visual treat that complements the song’s themes. Filmed at the Brixton Academy in London, the video features fans and radio contest winners dressed as Angus Young, complete with red cardboard guitars mimicking his iconic Gibson SG. The plot revolves around scientists using science fiction technology to replicate Angus, creating an army of lookalikes marching in time to the song. This inventive video is a testament to the band’s creative approach to their music and visuals. A photo of Angus surrounded by his replicas can be found inside the 2003 Digipak release of Who Made Who. The concept of multiple Anguses was even brought to life during some of AC/DC’s shows, like at the Nassau Coliseum in Uniondale, New York, where six lookalikes joined the stage.
The personnel for “Who Made Who” includes Brian Johnson on vocals, Angus Young on lead guitar, Malcolm Young on rhythm guitar, Cliff Williams on bass guitar, and Simon Wright on drums. The song’s production, overseen by Harry Vanda and George Young, ensures that the track maintains the high-energy, hard-hitting sound that AC/DC is known for.
Chart-wise, “Who Made Who” saw significant success, reaching #9 on the Australian Kent Music Report, #35 on the New Zealand Recorded Music NZ chart, #7 on Norway’s VG-lista, and #16 on the UK Singles Chart. It also peaked at #23 on the US Mainstream Rock Billboard chart.
# 6 – Hells Bells – Back in Black
“Hells Bells” is more than just an opening track; it’s an electrifying anthem that heralds AC/DC’s triumphant return after the tragic loss of their original frontman, Bon Scott. This iconic song kicks off the band’s seventh studio album, Back in Black, which was released on July 25, 1980. “Hells Bells” also served as the album’s second single, released on October 31, 1980. The song holds a special place in AC/DC’s catalog, also appearing on their 1986 soundtrack album Who Made Who for Stephen King’s film Maximum Overdrive and on both versions of their 1992 live album AC/DC Live.
The composition of “Hells Bells” is marked by its haunting opening—a slow, funereal tolling of a massive 2,000-pound bronze bell. This bell, manufactured by John Taylor & Co Bellfounders in Loughborough, was recorded by Tony Platt using Ronnie Lane’s mobile studio inside the bell foundry, after the tracking sessions for Back in Black were completed at Compass Point Studios in the Bahamas. This chilling introduction sets the tone for a song that delves into themes of fate, mortality, and power.
Critical reception for “Hells Bells” has been overwhelmingly positive. The Guardian ranked it number six on their list of the 40 greatest AC/DC songs in 2020, and Kerrang! placed it at number seven on their 2021 list of the 20 greatest AC/DC songs. The song’s compelling combination of lyrical depth, musical intensity, and symbolic resonance has secured its status as one of the band’s best tracks.
Chart-wise, “Hells Bells” made an impact globally, reaching #16 in France, #7 in Australia, #25 in Germany, and #50 on the US Mainstream Rock chart in 1980. It continued to chart in later years, including positions in Austria, Canada, and Hungary. The song’s enduring popularity is also reflected in its certifications: Gold in Brazil, Germany, Italy, Spain, and Platinum in Mexico. In the United States, it achieved 3× Platinum status, selling over 3 million copies.
Beyond its chart success, “Hells Bells” has found a place in various sports and cultural contexts. It served as the entrance music for Major League Baseball player Trevor Hoffman from 1998 to 2010 and is played before New Jersey Devils home games as players take the ice. Several football and rugby clubs, including FC St. Pauli, RC Toulonnais, and PAOK FC, use the song to energize their fans and players before home matches. Additionally, the song is played at the Bells Beach surf competition in Victoria, Australia, at the start of each competing day.
# 5 – Highway to Hell – Highway to Hell
“Highway to Hell” is a defining track in AC/DC’s storied career, encapsulating the band’s wild energy and relentless pursuit of rock greatness. Released on July 27, 1979, as both the opening track and lead single from their album Highway to Hell, the song quickly became a cornerstone of their musical legacy. Written by Angus Young, Malcolm Young, and Bon Scott, with Angus credited for the iconic guitar riff, “Highway to Hell” paints a vivid picture of the band’s grueling tour schedule and their unyielding dedication to their craft. The song’s title and lyrics were inspired by Canning Highway, a stretch of road in Western Australia known for its pubs and hotels frequented by Bon Scott.
Produced by the legendary Mutt Lange, “Highway to Hell” marked a significant evolution in AC/DC’s sound. Lange’s influence helped refine their double-guitar attack and introduced improved backing vocals, with Malcolm Young joined by Cliff Williams for the first time. This production prowess contributed to the album’s critical acclaim and commercial success, solidifying AC/DC’s status as rock icons.
The song’s legacy is impressive, with accolades and chart success highlighting its impact. “Highway to Hell” spent 45 weeks on the German Singles Chart, peaking at #30 in its 19th week. It also made notable appearances on various international charts, including #24 on the Australian Kent Music Report, #14 on the Belgian Singles Chart, and #47 on the US Billboard 100. Tragically, Bon Scott was found dead just over six months after the song’s release, adding a poignant layer to its history.
“Highway to Hell” has been recognized and celebrated in numerous ways over the years. It won the ‘Most Played Australian Work Overseas’ category at the 2009 APRA Awards and ranked #40 in Triple M’s “Ozzest 100,” a list of the most Australian songs of all time. The song also inspired the JoJo’s Bizarre Adventure Stand in the manga Stone Ocean. In 2020, The Guardian ranked “Highway to Hell” seventh on their list of the 40 greatest AC/DC songs, while Kerrang placed it fifth on their list of the 20 greatest AC/DC songs in 2021. The song’s influence extends beyond music, serving as the theme for WWE’s Summerslam 1998 PPV show and appearing in a vignette for the main event match between Stone Cold Steve Austin and The Undertaker.
The personnel for “Highway to Hell” includes Bon Scott on lead vocals, Angus Young on lead guitar, Malcolm Young on rhythm guitar and backing vocals, Cliff Williams on bass guitar and backing vocals, and Phil Rudd on drums. This lineup, combined with Mutt Lange’s production, created a timeless rock anthem that continues to resonate with fans across the globe.
# 4 – Thunderstruck – The Razors Edge
“Thunderstruck” bursts onto the scene with a lightning bolt of energy that electrified AC/DC’s fanbase upon its release. As the lead single from their twelfth studio album, The Razors Edge, in 1990, the song quickly became a global sensation. Its infectious riff and powerful rhythm propelled it to No. 4 on the Australian ARIA Singles Chart, No. 1 in Finland, and No. 5 on the US Billboard Album Rock Tracks chart. In 2010, it topped Triple M Melbourne’s Ultimate 500 Rock Countdown in Australia, cementing its place as one of the most iconic tracks in AC/DC’s catalog.
The genesis of “Thunderstruck” lies in a little guitar trick that Angus Young came up with. In the liner notes of the 2003 re-release of The Razors Edge, he recalled playing it to Malcolm Young, who suggested a rhythm idea that complemented the riff perfectly. The song evolved over a few months as they fine-tuned the composition. The title was inspired by their favorite childhood toy, ThunderStreak, and encapsulated the raw power and electrifying essence of AC/DC. The song has sold over a million digital copies since it became available for download, reflecting its enduring popularity.
In January 2018, “Thunderstruck” was ranked No. 8 in Triple M’s “Ozzest 100,” a list of the most Australian songs of all time. It stands out not just for its commercial success but also for its ubiquity in live performances. Since its release, “Thunderstruck” has been a staple in AC/DC’s setlists, with few exceptions. It is one of only four songs released after Back in Black that the band consistently performs live, underscoring its significance in their discography.
The music video for “Thunderstruck,” directed by David Mallet, adds another layer of excitement to the song. Filmed at London’s Brixton Academy on August 17, 1990, the video features an audience decked out in free T-shirts bearing the phrase “AC/DC – I was Thunderstruck” on the front and the date on the back. These T-shirts created a unified visual spectacle, enhancing the concert’s electric atmosphere. The song’s reach extends beyond music; it has been featured in a slew of movies such as Deadpool 2 (2018), Planes: Fire & Rescue (2014), Varsity Blues (1999), The Longest Yard (2005), Battleship (2012), The Fall Guy (2024), The Super Mario Bros. Movie (2023), and Daddy’s Home (2015), among others. It’s also been used in various TV shows, making it one of the best-selling singles of all time with over 15 million units sold.
# 3 -You Shook Me All Night Long – Back in Black
“You Shook Me All Night Long” is a pulsating anthem that marked a new chapter for AC/DC, introducing Brian Johnson as their lead vocalist after the tragic passing of Bon Scott. As the first single from their landmark album Back in Black, released in 1980, this song became an instant classic. Its infectious energy and unforgettable riff propelled it to number 35 on the US Billboard Hot 100 pop singles chart, solidifying its place in rock history. The song also appeared on the band’s later album, Who Made Who, and was re-released internationally in 1986 with live tracks as B-sides, further extending its reach.
Four live versions of “You Shook Me All Night Long” have been officially released, showcasing its enduring appeal in AC/DC’s concert repertoire. The first live version appeared on the 1986 maxi-single, while the second was included on the band’s Live album. A third live rendition can be found on the soundtrack to the Howard Stern movie Private Parts and in the AC/DC box set Backtracks. The fourth live version is featured on the Live at River Plate album. The song has become a staple of AC/DC concerts, rarely excluded from their setlists, and was notably performed on Saturday Night Live in 2000.
Beyond its live performances, “You Shook Me All Night Long” has a storied legacy. When AC/DC was inducted into the Rock and Roll Hall of Fame in 2003 by Steven Tyler of Aerosmith, they performed this song with Tyler, highlighting its significance in their career. Its chart success, coupled with its memorable live renditions, underscores the song’s powerful impact on audiences worldwide.
The personnel for this track includes Brian Johnson on lead vocals, Angus Young on lead guitar, Malcolm Young on rhythm guitar and backing vocals, Cliff Williams on bass guitar and backing vocals, and Phil Rudd on drums. This lineup brought a fresh dynamic to AC/DC’s sound, blending Johnson’s gritty vocal style with the band’s signature hard-hitting rock.
“You Shook Me All Night Long” is not just a song; it’s a testament to AC/DC’s resilience and their ability to create music that transcends time. Its enduring popularity and frequent inclusion in live performances make it a cornerstone of their discography, resonating with fans new and old. This track, with its electrifying energy and memorable lyrics, continues to shake up the rock world, proving that AC/DC’s legacy is as strong as ever.
# 2 – For Those About to Rock (We Salute You) – For Those About to Rock (We Salute You)
“For Those About to Rock (We Salute You)” is more than a song; it’s a rallying cry that has resonated with rock fans for decades. Released in 1981 on AC/DC’s eighth studio album, For Those About to Rock We Salute You, and later as a single in 1982, the track is a powerful anthem celebrating the spirit of rock ‘n’ roll. The single’s B-side features an edited live version of “Let There Be Rock,” recorded in Landover, Maryland, in late 1981, with the music video filmed at the same concert.
The song later found its place on AC/DC’s first soundtrack album, Who Made Who, released in 1986 for the Stephen King film Maximum Overdrive. Known for its commanding presence, “For Those About to Rock (We Salute You)” has often been used to close AC/DC’s live concerts, including notable performances on Live at Donington and No Bull. It also concludes the band’s more recent tours, such as Rock or Bust and PwrUp, further cementing its legacy as a staple in their live shows.
The personnel for this track includes Brian Johnson on lead vocals, Angus Young on lead guitar, Malcolm Young on rhythm guitar and backing vocals, Cliff Williams on bass guitar and backing vocals, and Phil Rudd on drums. Produced by Robert John “Mutt” Lange, the song showcases the band’s signature hard rock sound, with powerful riffs, anthemic choruses, and a dynamic performance that captures the essence of AC/DC.
In terms of chart performance, “For Those About to Rock (We Salute You)” reached #4 on the US Mainstream Rock chart and #15 on the UK Singles chart in 1982. Its enduring popularity is a testament to its impact on the rock music landscape.
# 1 – Back in Black – Back in Black
Released as the second US single from AC/DC’s seventh album, Back in Black, in 1980 through Atlantic Records, this track marks the band’s return after the sudden death of their former lead singer, Bon Scott. The iconic opening guitar riff, crafted by Angus Young, sets the tone for a song that celebrates Scott’s legacy while introducing Brian Johnson as the new frontman. Written by Brian Johnson, Angus Young, and Malcolm Young, “Back in Black” quickly became a rock anthem, reaching number 37 on the Billboard Hot 100 in 1981 and charting again in 2012 at number 65 in Australia and number 27 in the United Kingdom.
Recorded between April and May 1980 at Compass Point Studios in Nassau, the song was produced by Robert John “Mutt” Lange, whose meticulous production helped shape its hard rock sound. The B-side of the single featured “What Do You Do for Money Honey,” another track from the Back in Black album. The song’s success is a testament to the band’s ability to channel their grief into a powerful and enduring piece of music.
“Back in Black” has become a staple of AC/DC’s live performances, with two live versions appearing on both versions of their album Live and the Australian tour edition of Stiff Upper Lip. The song’s universal appeal has led to numerous covers by artists such as Living Colour, Shakira, and Troy “Trombone Shorty” Andrews & Orleans Avenue, who performed it live at the New Orleans Jazz & Heritage Festival in 2007. In 2017, Muse performed the song at the Reading Festival with Brian Johnson, marking his first performance in nearly two years after being ordered to halt live performances to prevent further hearing damage.
The personnel for “Back in Black” includes Brian Johnson on lead vocals, Angus Young on lead guitar, Malcolm Young on rhythm guitar and backing vocals, Cliff Williams on bass guitar and backing vocals, and Phil Rudd on drums.
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